Hitchcock doing «Columbo» decades before that character was introduced. Here the murderers are already known, the deed is done and the fun is in the aftershock of the murder and how our hero will catch them based upon the mistakes and behavior that the killers have. A play done right: perfect casting, wonderfully filmed, experimental and with high class. Even the speech at the end is perfect. Glorious in all aspects.
Hitchcock realiza un thriller psicólogo inspirado en el problema moral del superhombre en la estética y filosofía de Diovstoyevski y Nietzsche mostrando dos posturas antagónicas sobre el crimen. No contento con esto, realiza un solo plano secuencia en todo el metraje, haciendo que la trama fluya de igual manera a como lo haría una terapia de psicoanálisis realizada a sus peculiares asesinos.
3.5-4. Hitchcock's opening image of children ultimately elucidates the child/adult symbolic oppositions within Phillip and Brandon as well as between the two. And then these are bound to Hitchcock's favorites: light/dark, inside/outside, visible/invisible, reason/nature, etc. But these conflicts are delivered with brevity and light wit inside Brandon's teasing murder game.
Hitchcock en iyi gerilim kurma yolunun "Katil kim?" formülünden değil de kilit bilgiyi seyirciye verip karakterlere vermemekten geçtiğine inanarak tek mekanda ve tiyatrovari esintiler içeren bir şekilde çektiği film, kendini "cinayet işleme hakkı"na sahip gören iki genç üzerinden Nietzsche'nin üstinsan felsefesini tartışmaya açıyor.
One of Hitchcock's more underrated features is taut and suspenseful, taking a simple setup and gripping it's audience based on their complicity in the crime. Hitchcock's teasing of lifting the chest makes everyone feel like they are about to be exposed which is a true stroke of genius, applying minimal takes to linger the camera on significant moments. Jimmy Stewart is also great as the probing professor.
Rope is Hitchcock at his most concise and clinical. It is a lean film, precisely structured in a way that the explosive denouement, although not unexpected, is no less a thrilling affair largely in part because of Stewart’s terrific performance. Hitchcock revisits the perfect murder angle that he explored only cursorily in Suspicion, but with Rope this preoccupation would become a mainstay of the Hitchcockian oeuvre.
I wish I was invited to a murder mystery dinner party hosted by Alfred Hitchcock, it would have been one to score off the epic bucket list of my life if I had a time machine. It's also fairly hilarious when Stewart does turn up and instantly suspects the 2 perpetrators like he's walked in and caught the faint whiff of foul play. So this is Hitchcock interactive 'Cluedo' and James Stewart playing Sherlock Holmes.
Creepy as hell. The acting was excellent by the entire cast, crammed together claustrophobically close to the body hidden amongst them. The long scenes, with (seemingly) seamless cuts are technically admirable, but for me it was the acting and the suspense that made it a really great thriller.
this is near perfect; to cast Raskolnikov's split personality as two actors was an excellent choice... the society's judgment is ultimate destination here (unlike in Dostoevsky) a perfect murder as a perfect creation artist as god a single shot with hidden black wholes
Metaphorically a tryst between murderers subliminally trying to get it noticed by their non-understanding friends in a time homosexuality was a secret. Made at the start of McCarthyism, it’s the perfect analogy for having to hide one’s nature from a close-minded world, always in fear it’s open and under everyone’s noses. A skeleton that will destroy them either internally if kept secret or their life if discovered.